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| − | Actor. Son of [[Michael Richard]] and his wife [[Louise Saint-Claire]]. Graduated from Wits in 2011.
| + | [[Jeremy Richard]] (19**-). Actor. |
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| − | Played the role of the assistant of the American painter Mark Rothko in ''[[Red]]'' at the [[Grahamstown Festival]] an at [[Theatre on the Bay]] in 2012, with his father [[Michael Richard]] in the role of the painter. This thrilling play explores the turbulent creative process of famous 20th Century American artist, Mark Rothko. Written by John Logan, screenwriter for the Oscar-winning films ''Gladiator'', ''The Aviator'', ''Rango and Hugo''. Directed in South Africa by [[Steven Stead]]. Design by [[Greg King]].
| + | == Biography == |
| | + | Jeremy is the son of [[Michael Richard]] and his wife [[Louise Saint Claire]]. He graduated from Wits in 2011. |
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| | + | ==Contribution to SA theatre, film, media and/or performance== |
| | + | Performed in ''[[The History Boys]]'' during 2011. |
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| | + | He played the role of the assistant of the American painter Mark Rothko in ''[[Red]]'' at the [[Grahamstown Festival]] an at Sandton’s [[Theatre on the Square]] and Cape Town's [[Theatre on the Bay]] in 2012, with his father [[Michael Richard]] in the role of the painter. This thrilling play explores the turbulent creative process of famous 20th Century American artist, Mark Rothko. Written by John Logan, screenwriter for the Oscar-winning films ''Gladiator'', ''The Aviator'', ''Rango and Hugo''. Directed in South Africa by [[Steven Stead]]. Design by [[Greg King]]. |
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| − | It’s all in the family for Michael Richard, his wife Louise Saint-Claire and their son Jeremy. Father Michael has two big shows playing at Grahamstown. Mother Louise has two comedy slots, one solo and another opposite Graham Hopkins. And son Jeremy is starring opposite his dad in Red. DIANE DE BEER spoke to them all about their extraordinary family obsession.
| + | == Awards, etc. == |
| | + | He was nominated for a [[Naledi Award]] as Best Supporting Actor for his role in ''[[Red]]'' (award year 2013). |
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| | + | == Sources == |
| | + | ''[[Business Day]]'', 12 August 2011. |
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| | + | ''[[The Star]]'', 26 February 2013. |
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| − | | + | == Return to == |
| − | The man with the voice was also bemused when his son started displaying that same gift – the glorious Richard voice. But while they had fun rehearsing and doing a preview run in Durban, the verteran actor had to turn his head and apply acting chops to the work of another master of the theatre, David Mamet. With Graham Hopkins and Sello Maake Ka-Ncube, he is starring in the volatile Race where the title almost gives the essence away.
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| − | A white man has been accused of raping a black woman and the lawyers defending the case – black and white – have to argue the case to one another, the outside world and themselves.
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| − | Luckily for Michael, he performed in this last year and while both of the shows had to be relearnt and rehearsed, he didn’t have to find the characters. That would have been even tougher – not that anything would have been too big an ask. As actors they have to take what they can get.
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| − | It’s rare to find two such gems at once. Both are brilliant plays, with exceptional opportunities for actors, and doing them separately rather than at one festival would have been ideal, but that’s not an option.
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| − | Michael is delighted and feels blessed by the chance he has to explore two such extraordinary plays.
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| − | “Next year I may not be offered anything.” But for now, he’s relishing the challenge.
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| − | The mother:
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| − | Think of Louise Saint-Claire and you have to smile. As an actress, she’s proved her weight in gold. Give her a comic line and she seems to rise to a completely different level.
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| − | It is the meatier comedic roles that really catch her fancy, such as her favourite part – the obsessive wife in Reza Yasmin’s Carnage.
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| − | “I loved that woman,” she says, almost licking her lips. That’s the kind of actress she is, committed and clear about the level at which you have to function if you want to make it in this business. While Michael is off in Durban rehearsing Race, she is rehearsing her solo show One-Woman Farce, directed and written (with help from Louise) by Greg Homann.
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| − | It’s her first solo outing and she has no idea how this will work, but she’s happy to try. She’s trying to getting to grips with the characters, but she has time.
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| − | “Life’s a bit of a farce,” is how she explains the content. The style is also farce, and there are five doors, characters coming and going, and a story.
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| − | “I think it’s funny,” she says. It’s about a family trying to welcome their gran into their space. “I haven’t broken the back of it yet.” But if we know anything about this formidable actress, she will work it until she does.
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| − | Her second piece, Kissing Sid James, is with Graham Hopkins (also in Durban rehearsing for Race).
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| − | This one throws an odd couple together for a weekend. He is a salesman with a flashy car and a moustache and she is a croupier. A match made in heaven?
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| − | Probably not, but Louise says it’s a lovely piece of theatre and, as a bonus, she’s playing with her buddy and much-respected colleague – almost part of the family.
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| − | “We had to have it all ready before he raced off for rehearsals in Durban,” she says. But that’s just a matter of course when you’re in the profession.
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| − | Fiercely protective of her children – Sarah, who is also an actress, and Jeremy, who is starring opposite dad – Louise revels in her personal acting fraternity even if she didn’t push for it to be this way.
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| − | Both parents know the pitfalls, but also understand the family’s magnificent obsession. Louise talks the talk about her husband’s acting – he’s one of the finest in the land and she’s thrilled that both children are paying their dues.
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| − | Like the fairy she will be playing in the end-of-year Janice Honeyman panto, she would love to wave that magic wand once in a while, but on the whole, she’s pretty happy with the Richard acting ensemble.
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| − | The son:
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| − | It’s a double-edged sword for someone like Jeremy Richard. Of course there’s recognition and people will know about him because of his famous parents, but then he has to cope with criticism as well as show he has what it takes on stage.
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| − | No one in their right mind in today’s climate would cast someone because they’re someone’s son or daughter. That’s not going to happen. But still, Jeremy has to deal with all those clichéd demons and latch on to the benefits.
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| − | He has loved working with Dad in Red because there’s a shorthand. “We trust one another and he treats me professionally – not as a son – during rehearsals.” It also makes criticising and taking criticism a bit easier. “I know he’s not trying to put me down but help.”
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| − | It also helps the relationship they’re portraying in Red between the artist and his young assistant. “I love the passion of the piece,” says Jeremy, who has been blessed with the sheer class of the two plays he has been given professionally (last year it was History Boys.)
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| − | And as this one deals with art and creativity, even the text is a learning curve for the young actor.
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| − | “It’s a bit like painting a canvas, a very blank canvas,” says Jeremy about this work in which the world of an artist is explored.
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| − | “I’ve learnt so much.” He feels lucky that he can take from both his parents. The relationship in the play is like that between a father and son as well as a master and his apprentice, which is exactly why this youngest Richard feels so at home.
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| − | He knows he has to prove himself and that people probably have expectations that would not be part of the deal for other novice actors. But he focuses on the opportunity and the chance to get his foot in the door of something he has wanted to do from a very young age.
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| − | • Red comes to Sandton’s Theatre on the Square after the festival. Many of the other productions will also tour the country.
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